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Rod Stewart’s first official solo album was released in the United States in 1969 and is entitled The Rod Stewart Album. The same album was released with a different title in the United Kingdom in 1970, entitled An Old Raincoat Won’t Ever Let You Down. From 1969 to 1979, Rod Stewart released nine solo albums. Nine albums in ten years is a pretty impressive body of work, considering how great most of those albums were. The man worked his tail off, and it showed that he was a constant presence on all types of music charts around the world.
Many people gave Rod Stewart a lot of flack for all the standards albums the singer released in the 2000s and 2010s. Those who criticized Rod Stewart for covering standards might not have realized that Rod Stewart has always been one of the greatest song interpreters of all time. Many of Rod Stewart’s most prominent rock songs from the 1970s were written by other artists. Nonetheless, Rod Stewart has also written many rock classics. Rarely is a master song interpreter also a master songwriter.
Our list of the top 10 Rocking Rod Stewart songs is purely subjective. This one is also about the rockers. “Tonight’s the Night,” “The First Cut Is the Deepest,” “The Killing of Georgie (Part I and II),” “You’re in My Heart,” and “I Was Only Joking” were all great songs, but we are sticking to the Rocking Rod Stewart songs for this list. It also has to be on a Rod Stewart album, so no Faces material is here unless Rod also recorded it as a solo track, which he did with some of them. Our Rod Stewart songs list is just a list of Rod Stewart songs that we think define some of his best moments. He has had many others, but it’s fun narrowing it down to just 10.
# 10 – Every Picture Tells a Story – Every Picture Tells a Story
We open our Rod Stewart songs list with the great song “Every Picture Tells a Story,” the title track of Rod Stewart’s third studio album. Recorded in 1971 at Morgan Studios in London, the song epitomizes the blend of folk, rock, and country elements that Stewart so adeptly melded in what many consider his finest work. Stewart produced the album, while guitarist Ronnie Wood co-wrote the title track and played a significant role in shaping the sound that defined this pivotal period in Stewart’s career.
# 9 – Three Time Loser – Atlantic Crossing
“Three Time Loser,” the opening track of Rod Stewart’s 1975 album Atlantic Crossing, demonstrates Stewart’s adeptness at fusing rock with blues elements, underscored by authentic storytelling in his lyrics. The album was recorded in several American studios, including Muscle Shoals Sound Studio in Sheffield, Alabama. Tom Dowd produced this track, like the album.
The sessions featured Barry Beckett on keyboards, Roger Hawkins on drums, David Hood on bass, and Jimmy Johnson on guitar. Some pretty top-notch players, I woudl say.
# 8 – Blondes Have More Fun – Blondes Have More Fun
“Blondes Have More Fun,” the title track of Rod Stewart’s 1978 album Blondes Have More Fun, is a straight-ahead rock and roll number that stands apart from the album’s massive disco-influenced hit “Da Ya Think I’m Sexy?” Written by Stewart and guitarist Jim Cregan, the song was produced by Tom Dowd and released as a single in 1979.
The album sessions featured Stewart’s late-1970s band, including Jim Cregan, Gary Grainger, and Billy Peek on guitars, Phil Chen on bass, and Carmine Appice on drums, along with guest musicians such as Nicky Hopkins, Duane Hitchings, Fred Tackett, and Paulinho Da Costa. The title track’s boogie-driven guitars and piano make it one of the album’s clearest connections to the harder-rocking side of Stewart’s catalog.
While “Blondes Have More Fun” did not approach the chart impact of “Da Ya Think I’m Sexy?,” the album itself became a major commercial success, reaching number one on the Billboard album chart. For a list focused specifically on Rod Stewart’s 1970s rockers, the title track represents the rock and roll side of an album that is often remembered first for its embrace of disco.
# 7 – Pretty Flamingo
Rod Stewart’s cover of “Pretty Flamingo,” a song originally popularized by Manfred Mann in the 1960s, is featured on his 1976 album A Night on the Town. The recording sessions for the album took place across multiple locations, including Muscle Shoals Sound Studio, and brought together an impressive lineup of musicians, reflecting Stewart’s deep connections in the music industry.
The ensemble for A Night on the Town included a range of well-known musicians who contributed to the rich sound characterizing the album. On bass guitar were Donald Dunn, Bob Glaub, David Hood, Willie Weeks, and Lee Sklar. Guitarists on the album included Steve Cropper, Billy Peek, Joe Walsh, Jesse Ed Davis, David Lindley, Fred Tackett, and Pete Carr. The keyboard sections were handled by John Barlow Jarvis, David Foster, Barry Beckett, and J. Smith, providing depth and texture to the album.
The percussion and rhythm sections were no less star-studded, with Roger Hawkins, Andy Newmark, Al Jackson Jr., and Rick Shlosser on drums, complemented by Tommy Vig and Joe Lala on percussion. String arrangements were credited to Jimmy Horowitz, Mike Lewis, and Arif Mardin. The Tower of Power horn section added powerful horn parts, while Jerry Jumonville and Plas Johnson contributed tenor saxophone.
# 6 – Cut Across Shorty – Gasoline Alley
Featured on Rod Stewart’s 1970 album Gasoline Alley, “Cut Across Shorty” was recorded at Morgan Studios in London under the production of Rod Stewart and Lou Reizner, a combination that lent a raw, authentic texture to the track, encapsulating the gritty essence of Stewart’s vocal style and the rustic charm of the instrumental backing.
The musicians on this recording include Ronnie Wood and Martin Quittenton on acoustic guitars, Pete Sears on bass, Micky Waller on drums, and Dick Powell on violin.
# 5 – You Wear It Well – Never a Dull Moment
“You Wear It Well,” from Rod Stewart’s 1972 album Never a Dull Moment, adeptly combines heartfelt lyrics with folk-rock instrumentation, showcasing Stewart’s distinctive raspy vocal style. Recorded at Morgan Studios in London in 1972, the track features Stewart as producer, further establishing his role not just as a performer but as a craftsman in the studio.
The song features a lineup of accomplished musicians who helped shape its unique sound. Ron Wood played guitar and bass, while Martin Quittenton contributed acoustic guitar. Ian McLagan played organ, Micky Waller handled the drums, and Dick Powell’s violin introduced a distinctive texture that enhances the song’s rustic feel.
# 4 – Hot Legs – Foot Loose & Fancy Free
“Hot Legs,” a standout track from Rod Stewart’s 1977 album Foot Loose & Fancy Free, epitomizes the high-energy, rock-and-roll vibe that Stewart was famous for in the late 1970s. The recording sessions highlighted the cohesive energy of The Rod Stewart Group, with notable contributions from Gary Grainger, Jim Cregan, and Billy Peek on guitars, Phil Chen on bass, Carmine Appice on drums, and John Barlow Jarvis on keyboards.
Critically, “Hot Legs” was well-received for its straightforward rock sound and became a staple of Stewart’s live performances. The song achieved considerable chart success, further solidifying Rod Stewart’s position in the rock and roll hierarchy. The accompanying music video, which featured Stewart performing with his band interspersed with footage of various women’s legs, played into the era’s burgeoning music video trend that we all could not stop watching. Yes, guilty I am.
# 3 – Let Me Be Your Car – Smiler
“Let Me Be Your Car,” a notable track from Rod Stewart’s 1974 album Smiler, showcases a unique collaboration between Stewart and Elton John. This song, crafted by Elton John and his lyricist Bernie Taupin, combines Stewart’s raspy vocal style with John’s distinctive piano playing and vocals, resulting in a high-energy rock track enriched by its clever automotive metaphors. The song was recorded during the sessions for Smiler, and Stewart produced the track.
The recording features Ronnie Wood on guitar, Martin Quittenton on acoustic guitar, Elton John on piano and vocals, Ian McLagan and Pete Sears on piano, Ray Cooper on percussion, Spike Heatley and Willie Weeks on bass, and Andy Newmark, Kenney Jones, and Micky Waller on drums. Dick Powell and Ric Grech contributed violin, while The Memphis Horns added horn parts and the Chanter sisters contributed backing vocals.
# 2 – Maggie May – Every Picture Tells a Story
“Maggie May” broke the mold for Rod Stewart, catapulting him from rising star to rock icon with its release on his 1971 album Every Picture Tells a Story. Not initially planned as the hit side of the single, the track became an anthem of the era, capturing the essence of youthful longing and romantic disillusionment. Recorded at Morgan Studios in London and produced by Stewart, the song paired his voice with a loose, intimate arrangement that resonated with audiences worldwide.
Upon its release, “Maggie May” soared to the top of the charts, hitting number one in both the UK and the US. It became one of Stewart’s signature songs, defining his career as much as it defied the standard expectations of a chart-topping single at the time. The song’s success was bolstered by extensive radio play and Stewart’s charismatic live performances, which often featured extended sing-alongs that resonated with his audience’s experiences and emotions.
# 1 – “(I Know) I’m Losing You” – Every Picture Tells a Story
“(I Know) I’m Losing You” stands as a powerful testament to Rod Stewart’s raw vocal intensity and ability to infuse a rock sensibility into rhythm and blues roots. Featured on his seminal 1971 album Every Picture Tells a Story, this track exemplifies Stewart’s gritty approach to rock that defined much of his early career. The song, a cover of The Temptations’ classic, was recorded at Morgan Studios in London and produced by Rod Stewart. This version diverges sharply from its Motown origins, showcasing a heavier, more guitar-centric sound that underscored Stewart’s raspy and emotionally charged vocal delivery.
The musicians on this track include Stewart’s Faces bandmates Ronnie Wood on guitar, Ronnie Lane on bass and backing vocals, Ian McLagan on piano, and Kenney Jones on drums. The session’s spontaneity is evident in the energetic drumming by Jones, which propels the song forward with a relentless urgency. This ensemble of musicians helped transform the original Motown smoothness into a rock anthem that resonated with the rebellious spirit of the early 1970s. Stewart’s interpretation not only paid homage to the roots of the song but also marked it indelibly with his distinctive style.
Updated September 3, 2026.
Top 10 Rocking Rod Stewart Songs From The 1970s article published on ClassicRockHistory.com © 2026
